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唐太宗的音乐观分作两个层面。其一是音乐认识论。由于他不懂得音乐表现人的感情，更不懂得音乐以其特殊的语言来表现感情，就认为音乐作品本身不带悲苦欢乐的情绪，而是作为作品接受者的人，由自己心情的悲苦欢乐而赋予作品以情绪的。这便无限夸大了接受者的主观认识能力，从而取消了作品自身质的规定性。其二是音乐社会学论。由于他不懂得儒家功利主义音乐观，不懂得音乐同政治、社会、风俗等的关系，就认为音乐作品同国家的兴亡、社会的治乱没有什么关系。他的音乐认识论，是音乐社会学论的理论基础；音乐社会学论，是音乐认识论向社会生活、政治活动的必然推演。音乐对于唐太宗来说，还是一片盲区。
Emperor Taizong’s music concept is divided into two levels. One is music epistemology. Because he does not know how to express the feelings of people in music and does not know how to express his feelings in his particular language, he thinks that the works of music do not bear the feelings of sadness and joys, but rather those who are recipients of the works, And give the work emotional. This exaggerates the recipient’s subjective cognitive ability indefinitely, thus eliminating the provisions of the work itself. The second is the theory of music sociology. Because he does not understand the concept of Confucian utilitarian music, do not know the relationship between music and politics, society, customs, etc., that music works with the rise and fall of the country, social disorder has nothing to do. His music epistemology is the theoretical foundation of the theory of music sociology; the theory of music sociology is the inevitable deduction of the epistemology of music to the social life and political activities. For Taizong music, or a blind spot.